Eagerly awaiting a review/assessment of a two-page pitch. It is difficult to imagine that 100 of carefully crafted pages carrying complex ideas, actions and emotions can be adequately summed up in 700 words.
We’ll see. Film at eleven.
Doing a live pitch via Skype next week. This is not new territory for me. My corporate life had me presenting both live and virtually for some 20 years. Half of those pitches were to studio marketing teams concerned with budget restrictions, time constraints and their reputation within the corporate milieu. It seems logical the same, or certainly similar dynamics exist in pitching to producers. The essential question is: What’s in it for them?
Selling a script, or anything for that matter, relies on need. Inspiring a sense of need is fundamental. Knowing the need is the requisite skill.
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Writers gotta execute storytelling. That is all it is. A two page audition for read requests. The screenplay can be rewritten, ppl in charge quit or leave projects but great concepts/core ideas will always find backers.
Dan MaxXx I don't begin a screenplay without at least one concept. Still finding it tough to get them out there. Especially as I can no longer afford an IMDBpro subscription. Any tips on how to get over concept driven stories? Or is it just hustle?